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Music History Monday
Robert Greenberg
120 episodes
3 weeks ago
Exploring Music History with Professor Robert Greenberg one Monday at a time. Every Monday Robert Greenberg explores some timely, perhaps intriguing and even, if we are lucky, salacious chunk of musical information relevant to that date, or to … whatever. If on (rare) occasion these features appear a tad irreverent, well, that’s okay: we would do well to remember that cultural icons do not create and make music but rather, people do, and people can do and say the darndest things.
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Music History
Music,
Music Commentary
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All content for Music History Monday is the property of Robert Greenberg and is served directly from their servers with no modification, redirects, or rehosting. The podcast is not affiliated with or endorsed by Podjoint in any way.
Exploring Music History with Professor Robert Greenberg one Monday at a time. Every Monday Robert Greenberg explores some timely, perhaps intriguing and even, if we are lucky, salacious chunk of musical information relevant to that date, or to … whatever. If on (rare) occasion these features appear a tad irreverent, well, that’s okay: we would do well to remember that cultural icons do not create and make music but rather, people do, and people can do and say the darndest things.
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Music History
Music,
Music Commentary
Episodes (20/120)
Music History Monday
Music History Monday: An American in Paris
We mark the London premiere on August 26, 1952 – 72 years ago today – of the film “An American in Paris.” With music by George Gershwin (1898-1937), directed by Vincente Minnelli, starring Gene Kelly, Leslie Caron, and Oscar Levant, the flick won six Academy Awards, including the Oscar for Best Picture. While the film actually opened in New York City on October 4, 1951, this London premiere offers us all the excuse we need to examine both the film and the music that inspired it, George Gershwin’s programmatic orchestral work, An American in Paris.Here’s how we’re going to proceed.  Today’s Music History Monday post will deal specifically with Gershwin’s An American in Paris, a roughly 21-minute workfor orchestra composed in 1928.Tomorrow’s Dr. Bob Prescribes post will feature the 1951 film of the same name, focusing on (and excerpting) four of its musical numbers.StatementGeorge Gershwin (1898-1937) on the cover of Time magazine, July 20, 1925George Gershwin is among the handful of greatest composers ever born in the United States. His death at the age of 38 (of a brain tumor) should be considered an artistic tragedy on par with the premature deaths of Schubert (at 31), Mozart (at 35), and Chopin (at 39). He was born Jacob Gershovitz (though his birth certificate reads “Jacob Gershwine”), the child of Russian Jewish immigrants, on September 26, 1898.  He was born at home, in a flat at 242 Snediker Avenue in the Brownsville neighborhood of Brooklyn, New York.  (In 1963, a bronze plaque commemorating Gershwin’s birth was affixed to the building.  By the 1970s, the neighborhood had fallen on very hard times: the plaque was stolen – it is still MIA – and the building vandalized.  It burned down in 1987, and all that remains today of this once thriving neighborhood of immigrants is a blighted area of warehouses and junkyards.)Rarely has a major composer begun his life in an artistically less promising manner.  Tall, athletic, and charismatic, Gershwin was the leader of his various tenement gangs, playing street ball, roller skating everywhere, and engaging in petty crime.  By his own admission, he cared nothing for music until he was ten, when George’s parents Morris and Rose bought his elder brother Ira a piano.  But it was George who attacked the thing, with an intensity and precocity that shocked everyone.  …Continue reading, only on Patreon!Addendum: A Heartfelt PostscriptThis will be my final Music History Monday podcast and post.  I have been writing Music History Monday for exactly eight years – since September 5, 2016 – during which I have created over 400 of them.  It’s been a wonderful run, and now it’s time for me to return to writing music.  From here on out, my blogging and vlogging will take on the character of a personal journal punctuated with generalized and editorial commentary, all of which will be accessible through my Patreon subscription site at Patreon.com/RobertGreenbergMusic. If you are not already part of my Patreon family, I would urge you to consider joining us!Become a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
20 minutes 8 seconds

Music History Monday
Music History Monday: Serge Pavlovich Diaghilev
Serge (or Sergei) Diaghilev (1872-1929) in 1916We mark the death on August 19, 1929 – 95 years ago today – of the Russian impresario, patron, art critic, and founder of the Ballets Russes Serge (or “Sergei”) Pavlovich Diaghilev, in Venice.  Born in the village of Selishchi roughly 75 miles southeast of St. Petersburg on March 31, 1872, he was 57 years old when he died.Movers and ShakersSerge Diaghilev was one of the great movers-and-shakers of all time.  In a letter to his stepmother written in 1895, the 23-year-old Diaghilev described himself with astonishing honesty and no small bit of prescience, given the way his life went on the develop:“I am firstly a great charlatan, though con brio [meaning vivacious and spirited!]; secondly, a great charmer; thirdly I have any amount of cheek [meaning chutzpah; moxie; nerve!]; fourthly, I am a man with a great quantity of logic, but with very few principles; fifthly, I think I have no real gifts.  All the same, I think I have found my true vocation – being a patron of the arts.  I have all that is necessary except the money – but that will come.”  Diaghilev at 17, circa 1889Serge Diaghilev’s audacious and spectacular career was intertwined completely with the audacious and spectacular career of one Igor Stravinsky (1882-1971).  Without Diaghilev, Igor Stravinsky would never have become STRAVINSKY: the enfant terrible of Western music in the years before World War One.  Without Diaghilev, Stravinsky would never have seen his career reborn and finances recover after the war.  Conversely, without Stravinsky, Diaghilev might have made his mark but not his legend.  Consequently, I’m going to dedicate this post to not just Monsieur Diaghilev, but to his discovery of and ongoing relationship with Igor Stravinsky!…Continue reading, and listen without interruption, on Patreon!Become a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
18 minutes 59 seconds

Music History Monday
Music History Monday: Giovanni Gabrieli and the Miracle That is Venice!
Giovanni Gabrieli (circa 1555-1612)We mark the death on August 12, 1612 – 412 years ago today – of the composer Giovanni Gabrieli.  Born in Venice circa 1555, he grew up and spent his professional life in that glorious city, and died there as a result of complications from a kidney stone.Gabrieli’s magnificent, soul-stirring music went a long way towards helping to define the expressive exuberance of what we now identify as Baroque era music.  The impact and influence of his music was ginormous, an impact and influence that culminated a century later in the German High Baroque music of Johann Sebastian Bach (1685-1750)!To a degree beyond any other composer before or after him, Gabrieli’s music has come to be identified with his hometown of Venice, in particular the acoustically unique Venetian performance venues for which so much of his music was composed.   It is necessary, then, for us to spend some time in Venice, if only to get some inkling of what makes this singularly remarkable city so spiritually, artistically, and architecturally unique; and why Gabrieli’s music is uniquely Venetian.…Continue Reading, only on Patreon!Become a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
22 minutes 29 seconds

Music History Monday
Music History Monday: The First Professional Composer
Easy Times!We’ve been having a good time, an easy time here at Music History Monday these last few weeks. Five of our last six MHM posts have featured fairly recent musical events from the “popular” side of the musical aisle.  Music History Monday for June 24 focused on Disco; on July 1, the invention and marketing of Sony’s Walkman; on July 8, the American crooner Steve Lawrence (who was born, as I know you recall, Sidney Liebowitz); on July 22, Taylor Swift; and on July 29, Cass Elliot (born Ellen Naomi Cohen).Today we get back to the historical repertoire.  But let me assure you: the composer we will focus on was as ground-breaking as Sony’s Walkman; his music as gorgeous as the silken voices of Steve Lawrence and Cass Elliot; his rhythmic sensibilities as sharply honed as those of the Bee Gees and Taylor Swift (though, to my knowledge, a concert of his music never simulated a magnitude 2.3 earthquake in downtown Seattle, as did Ms. Swift’s on July 22, 2023).“Portrait of a Young Man” (1432) by Jan van Eyck; possibly Guillaume Du Fay (1397-1474)Ladies and gentlemen, please put your hands together for Guillaume Du Fay!We celebrate the birth on August 5, 1397 – 627 years ago today – of the composer Guillaume Du Fay.  He was, by every standard, one of the greatest composers to have ever lived and was admired as such in his own lifetime.Guillaume Du Fay as The First Professional ComposerWriting in The New Grove Dictionary of Music and Musicians, the Venezuelan -American musicologist, conductor, and composer Alejandro Enrique Planchart observes that:“Before Du Fay’s time, the concept of a “composer” – that is, a musician whose primary occupation is composition [and not a priest, choir master, or teacher] – was largely unfamiliar in Europe. The emergence of musicians who focused on composition above other musical endeavors arose in the 15th century, and was exemplified by Du Fay.”Early LifeHe was born in the Flemish (today Belgian) town of Bersele (today spelled Beersel), just south of Brussels.  He died 77 years later, on November 27, 1474, just across the border in northern France in the city of Cambrai.…Continue reading, see video, and the illustrated, ad-free version of the post, only on Patreon!Become a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
22 minutes 32 seconds

Music History Monday
Music History Monday: Cass Elliot and the Making of an Urban Legend
We mark the death of Cass Elliot on July 29, 1974 – 50 years ago today – in an apartment at No. 9 Curzon Street in London’s Mayfair District.  Born on September 19, 1941, she was just 32 years old at the time of her death.Cass Elliot (born Ellen Naomi Cohen); 1941-1974Brief BiographyCass Elliot was born Ellen Naomi Cohen in Baltimore, Maryland.  According to her biography, “all four of her grandparents were Russian-Jewish immigrants.”The Pale of Settlement(Parenthetically, I grew up hearing that all four of my great-grandparents were, likewise, from “Russia,” which created a misunderstanding that I carried around with me until my twenties.  As it turns out, in this case, “from Russia” actually means from the Pale of Settlement, that part of the western region of the Russian Empire where Jews were allowed to live.  Today, the territory that encompassed the Pale includes all of Belarus and Moldova, much of Ukraine and Lithuania, part of Latvia, and only a small area of what is today the western Russian Federation.)It was while she was in high school that Ellen Cohen was bitten by the musical theater bug and began calling herself “Cass Elliot.” Ms. Elliot’s parents fully expected her to go to college, so we can all imagine their . . . “surprise” when she dropped out of high school just before graduation and moved to New York City, there to pursue her dream to be an actor!Cass Elliot’s acting career never quite got off the ground.  (Yes, she was part of a touring production of The Music Man, but her one-and-only shot at the bigtime came and went when she lost the part of Miss Marmelstein in the Broadway show I Can Get it for You Wholesale to an up-and-comer named Barbra Streisand.)It was as a singer that Cass Elliot made her mark.  She had a clear, strong, distinctive voice and a charismatic stage presence to go along with her 300-pound “figure.”  In 1963 she helped form a progressive folk trio called the Big 3 which recorded two albums and appeared on The Tonight Show, Hootenanny, and The Danny Kaye Show.  In 1964, the Big 3 became a quartet called the Mugwumps.  Finally, in 1965, Cass Elliot and fellow Mugwump member Denny Dougherty joined the husband/wife team of John and Michelle Phillips to become the Mamas and the Papas.…Continue reading, only on Patreon!Become a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
18 minutes 10 seconds

Music History Monday
Music History Monday: Shake, Rattle, and Roll
Taylor Swift (born 1989)Only July 22, 2023 – one year ago today – Taylor Swift (born 1989; she has, according to Forbes, a present net worth of $1.3 billion) literally “shook up” Seattle: her concerts in that city shook the ground with such violence that it registered as a magnitude 2.3 earthquake.  (As if to prove that the “Swiftquake” at her first show was no fluke, her second show in Seattle also registered a 2.3 on the Richter Scale.)Talk about shake, rattle, and roll!A necessary acknowledgement before kicking things off: as entertainers go, there is no one on the planet who is presently more overexposed than Taylor Swift.No one, I mean, not even Englebert Humperdinck (born Arnold George Dorsey, 1936) in his prime, heaven bless him.Yet here I am, seemingly jumping on the Swifty bandwagon, writing about she-who-does-not-need-to-be-spoken-of-ever-again.  My reason for doing so has nothing to do with Taylor Swift herself but rather, the nature of the geology on which my house, neighborhood, city, and region of Northern California (NoCal) rests. “Earthquake Country”: San Francisco, April 1906I live in what is euphemistically called “earthquake country,” at the edge of where the North American tectonic plate borders the Pacific plate.  These plates are moving at approximately the speed of a growing fingernail in opposite directions.  The Pacific Plate is moving north; the North American Plate is moving south.  The immediate area where the plates meet is called the fault zone or the fracture zone, because the bedrock adjacent to the plates is filled with faults – fractures – where the rock has given way due to the movement of the plates against each other.Like them or not (and I would hazard to guess that most people and animals do not like them), earthquakes are an almost everyday occurrence up and down the Pacific coast.  So like it or not, most folks who live on the fault lines – especially home owners, who have to bolt their homes to the ground using technologies unknown outside of earthquake country, whose families keep survival supplies and have emergency plans in case of a Big One – know more about earthquakes and fault lines than they’d like to.…Continue reading, and listen without interruption, only on Patreon!Become a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
10 minutes 49 seconds

Music History Monday
Music History Monday: An Indispensable Person
IndispensabilityThe title of this blog – “An Indispensable Person” – might be considered controversial. That’s because any number of very smart people would argue that there is, in fact, so such thing as an “indispensable person.”  According to both Presidents Woodrow Wilson and Franklin Roosevelt:“There is no indispensable man.”Said President John F. Kennedy:“Nobody’s indispensable.”Observed the redoubtable Charles de Gaulle (1890-1970):“The graveyards are full of indispensable men.”And there we have it: there is a school of thought that states without equivocation that “No one, absolutely no one, no matter how anyone has painted someone’s existence or value, is indispensable.”It’s a school of thought that I do not attend.  That’s because based on my reading of history, there are indeed certain individuals without whom certain positive historical ends could not have been achieved.  Here are four obvious examples.James Thomas Flexner entitled his superb biography of George Washington The Indispensable Man (Plume, 1974; currently published by Back Bay Books).  Flexner was correct in so titling his book,  because George Washington (1732-1799) was, in fact, an indispensable person.  Without his leadership and indomitable will, the American Revolution would have quickly unraveled and been lost.  And without Washington, the American presidency and with it, the nascent American democracy, would very likely have devolved into autocracy, perhaps even monarchy.  (This book should be required reading for a certain six members of our current not-terribly-Supreme Court, who need – desperately – to be reminded of what the Founders intended and what moral greatness look like.)We should all be loath to even consider what the United States would look like today if not for the indispensable moral guidance and eloquence of Abraham Lincoln (1809-1865).  As for the twentieth century, the world as we know it would not exist, and the forces of darkness might very well have triumphed, without the indispensable Winston Churchill (1874-1965) and Franklin Delano Roosevelt (1882-1945).  (As for the overly politically and socially sensitive among us: yes, yes, I am aware that these are all white, Protestant men; one of them a slave owner [Washington]; one of them an imperialist [Churchill]; and three of them members of the wealthy, ruling class [Washington, Churchill, and Roosevelt].  So what? Does that information in any way reduce their contributions to humanity?)British Prime Minister Winston Churchill (left) and President Franklin D. Roosevelt together at the White House on May 24, 1943The Prussian general and military theorist Carl von Clausewitz (1780-1831) pinpointed the traits that leaders require to make them “indispensable”:“Two qualities are indispensable: first, an intellect that, even in the darkest hour, retains some glimmerings of the inner light which leads to truth; and second, the courage to follow this faint light wherever it may lead.” Okay: some perspective as we observe the obvious: the indispensable people of, say, the world of potash-mining; of lip-gloss manufacturing; and of shipping palette design may not be as well-known and their impact on humanity not as universal as Washington, Lincoln, Churchill, and Roosevelt.  But in terms of their fields, they are indispensable people as well.  Yo: without Howard T. Hallowell (1877-1955), who patented the first shipping palette in 1924 (he called it a “Lift Truck Platform”), the American trucking industry might never have gotten off the ground in the manner it did.  Long live Howard T. Hallowell, the indispensable person of the shipping palette!Carl Czerny (1791-1827) in 1833Another Unsung Hero! Another Indispensable Person!We mark the death on July 15, 1857 – 167 years ago today – of the Austrian composer, pianist, chronicler of Beethoven, and teacher Carl Czerny.
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1 year ago
24 minutes 1 second

Music History Monday
Music History Monday: What’s in a Name?
We mark the birth on July 8, 1935 – 89 years ago today – of the American Grammy and Emmy Award-winning singer, actor, and comedian Steve Lawrence, in Brooklyn, New York.  He died just four months ago, on March 7, 2024, in Los Angeles.Steve Lawrence (1935-2024)Steve Lawrence, one might ask?  Have potential topics for Music History Monday become so depleted that after nearly eight years (my first such blog was posted on September 9, 2016) I’ve been reduced to profiling baritone-voiced male pop singers of the second half of the twentieth century?  Who’s next: Dean Martin? Perry Como?  Andy Williams? Tom Jones? Jack Jones? Vic Damone? Al Martino? Robert Goulet?And what of it, I would rather AGGRESSIVELY ASK IN RESPONSE?  Over the years, I’ve profiled the likes of Bing Crosby, Frank Sinatra, Elvis Presley, Tony Bennett, Otis Redding, and Chubby Checker, among others.  SO WHY NOT STEVE LAWRENCE?Okay, I will admit that there is an ulterior motive here, and we’ll get to that ulterior motive behind this profile of Maestro Lawrence in due time.  But first, permit me, please, to reminisce.“Fitting In”As I have mentioned more than once, I was born and spent my first years in that Olduvai Gorge of American ethnicity (pronounced “et-nicity”): the New York City borough of Brooklyn.  Three of my four grandparents were born there as well (the fourth – my paternal grandfather – was born in Elizabeth, New Jersey but moved to Brooklyn as a toddler and grew up there). Both of my parents and my stepmother were born in Brooklyn and grew up in Brooklyn.   That’s a lot of freaking Brooklyn.While I grew up in the New Jersey ‘burbs and was shaped by the lower middle-class suburban experience of the 1950s and 1960s, my grandparents and parents were all New Yorkers to the bone, and were shaped by the dual experience of growing up in Brooklyn and by being the children and grandchildren of Jewish immigrants from Belarus.  That meant maintaining something of their ethnic and religious identity while, paradoxically, at the same time, trying to blend in – to assimilate – and be, as my paternal grandfather Sidney would say, “real Yankees!”When my extended family got together, you could count on certain conversations to always take place.  The alte kaker (meaning the old men; literally “old poopers”) would play pinochle and complain about politicians, taxes, the stock market, the weather, and the New York Mets.  Boring and predictable. It was the women of my mother’s and grandmothers’ generations whose conversations I would eavesdrop on, because they were interesting and they were funny. (If they saw me listening, they’d start speaking in Yiddish, so I’d have to keep my distance and look as if I wasn’t listening to them at all.)  I recall their conversations as representing gossip and innuendo raised to high art, conversations more often than not fixated on other women: who was married to the worst/best husband (sometimes the same thing: “he slaps her around, but he makes a BUCK”); who had the best/worst clothes and jewelry, and what they paid for their best/worst clothing and jewelry; who was too fat or too thin (these were Jewish ladies, so it was indeed possible to be “too thin”); who wore too much makeup and who wore too little; whose teeth needed fixing and hair needed cutting and/or coloring; who was drinking too much and popping diet pills (meaning methamphetamines, which were legal at the time); who was sexless and who was shtupping the mailman; etc.  The comments I enjoyed the most were about the people I knew: my girl cousins, some of whom were these ladies’ daughters.  This one needs to go on a diet, that one needs a nose-job; this one needs to see a dermatologist, that one has to dress more appropriately; this one needs to do something with her hair, that one needs braces.  Genuine compliments for anyone were few and far between,
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1 year ago
17 minutes 41 seconds

Music History Monday
Music History Monday: The Sony Walkman: A Triumph and a Tragedy!
The original Sony Walkman, model TPS-L2We mark the introduction on July 1, 1979 – 45 years ago today – of the Sony Walkman.  The Walkman was the first entirely portable, high-fidelity (or at least fairly high-fidelity) audio cassette player, a revolutionary device that allowed a user to listen to entire albums anywhere, anytime.  Introduced initially in Japan, the higher-ups at Sony expected to sell 5000 units a month for the first six months after its release.  Instead, they sold 30,000 units in the first month alone and then – then – sales exploded.  All told, Sony has sold over 400 million Walkmen (“Walkmans”?) in cassette, CD, mini-disc, and digital file versions, and Sony remained the market leader among portable music players until the introduction of Apple’s iPod on October 23, 2001.For Sony the Walkman was a commercial triumph.  For consumers, it was a technological game-changer.  But for humanity, taken as widely as we please, it can (and will!) be argued that the “portable music player” – or PMP – has been an unmitigated disaster, a tragedy that has served to increasingly isolate human beings from one another in a manner unique in our history.A Walkman ad from 1979, inadvertently promoting individual isolation and the death of public interactionHeadphones and EarbudsGrowing up, my maternal grandparents lived in a pre-War apartment building at 82nd and Riverside Drive in Manhattan’s Upper West Side.  Lincoln Center for the Performing Arts (or just Lincoln Center) was just 16 blocks to the south, a 16.3-acre complex between 66th and 62nd Streets.  Lincoln Center’s Library & Museum of the Performing Arts opened in 1965, and I remember my grandmother taking me and my brother Steve down to see it.  Actually, I don’t just “remember” the visit; it is etched forever in my 11-year-old memory because of what happened there.There was a large, open area filled with small, circular tables on which were built in record turntables.  As I recall, each of these circular tables had four stereo headphones plugged in around the turntable.  One would go up to a counter, request a particular record, and then sit down and listen to it through the headphones.I had never listened to music through over-the-ear headphones (stereo or otherwise) before that visit, and I still remember the amazement I felt: I’d never, ever experienced such sonic fidelity; I’d never imagined that recorded music could sound so fantastic.  And because I was listening through over-the-ear headphones, most of the ambient noise in the room was blocked out, effectively isolating me and allowing me to focus strictly on the music. I don’t remember what my grandmother did to drag me away from that turntable, whether she used a leather sap, a fire hose, the jaws-of-life or, more likely, the promise of ice cream on the way back to her apartment.  Whatever; because of those stereo headphones, I had experienced musical high-fidelity for the first time in my life, and I was hooked.To this day, I have a number of excellent over-the-ear headphones, and when I really must “listen” for recorded detail, I will listen through one of them.  (FYI: I will not use earbuds, as I can’t tolerate the sensation of something shoved into my ear canal.  Too bad for me.)To the point.  The immersive experience provided by headphones – by broadcasting directly into our ears while isolating us from ambient sound – is seductive.  But at what point might the isolating aspect of the headphone/earbud experience become a less-than-positive thing?  The advent of PMPs – be they Walkmen, iPods, or smartphones – has allowed two generations of listeners to isolate themselves from the world around them, often to the point of near total disengagement. …Continue reading,
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1 year ago
17 minutes 57 seconds

Music History Monday
Music History Monday: Boogie Fever
One sort of Boogie Fever: Vladimir Horowitz (1903-1989) cuttin’ the rug at New York’s Studio 54, circa 1978On June 24, 1374 – 650 years ago today – the men, women, and children of the Rhineland city of Aachen began to dash out of their houses and into the streets, where – inexplicably, compulsively, and uncontrollably – they began to twist and twirl, jump and shake, writhe and twitch until they dropped from exhaustion or, in some cases, just plain dropped dead.  It was a real-life disco inferno, true boogie-fever stuff: the first (but not the last) major occurrence of what would come to be known as the “dancing plague (or mania)” or “choreomania,” which soon enough spread across Europe.There had been small outbreaks of the “dancing plague” before, going back as far as the seventh century.  An outbreak in the thirteenth century – in 1237 – saw a group of children jump and dance all the way from Erfurt to Arnstadt in what today is central Germany, a distance of some 13 miles. It was an event that is believed to have inspired the legend of the Pied Piper of Hamelin.But the outbreak in Aachen 650 years ago today was big.  Before it was over, thousands upon thousands of men, women, and children had taken to the streets as the “dancing plague” spread from the western German cities of Aachen, Cologne, Metz, and Stuttgart; to the Belgian cities of Hainaut, Utrecht, Tongeren; then across France, the Netherlands, and finally, back into Germany!Another sort of Boogie Fever. The authorities typically had music played during outbreaks of dancing plague, as it was believed to somehow “cure” the mania; painting by Pieter Brueghel the Younger (1564-1638), after drawings by his father.This gigantic outbreak came to be referred to as “St. John’s Dance,” though at other times and in other places it was called “St. Vitus’ Dance.”  (These names were coined based on the assumption that the dancing plague was the result of a curse cast by either St. John the Baptist or St. Vitus, St. John having been beheaded by Herod Antipas between 28 and 36 CE and St. Vitus martyred in 303 during the persecution of Christians by the co-ruling Roman Emperors Diocletian and Maximian.) Writing in his book The Black Death and the Dancing Mania, the German physician and medical writer Justus Friedrich Karl Hecker (1795-1850) describes St. John’s Dance this way:“They formed circles hand in hand and appearing to have lost all control over their senses, continued dancing, regardless of the bystanders, for hours together, in wild delirium, until at length they fell to the ground in a state of exhaustion. They then complained of extreme oppression, and groaned as if in the agonies of death, until they were swathed in cloths bound tightly round their waists, upon which they again recovered, and remained free from complaint until the next attack.”…Continue reading, and listen ad-free, only on Patreon!Continue on PatreonBecome a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
11 minutes 58 seconds

Music History Monday
Music History Monday: Unsung Heroes
John Taylor McClure (1929-2014; bottom left) with Igor Stravinsky (1882-1971; bottom right”) in the recording studio on July 20, 1964We mark the death on June 17, 2014 – an even 10 years ago today – of the Grammy Award winning American record producer and Director of Columbia Masterworks Recordings John Taylor McClure.  McClure was born in Rahway, New Jersey on June 28, 1929, and died in Belmont Vermont at the age of 84, 11 days short of his 85th birthday.Record ProducersThe title of this post says it all: “Unsung Heroes.” It is my experience that unless someone has personally been involved in creating a recording, it’s pretty much impossible to appreciate the amount of work a producer puts into the process and the degree to which the producers’ own musical taste, musical proclivities, and musicality influence the final product.  The front of a record jacket or CD case might bear the image of a composer or performer, and the producer’s name might appear in the tiniest of print on the lower left-hand corner of the back of the jacket, but in fact – in terms of their singular impact on a recording – the producer should, by all rights, be pictured on the front of the album side-by-side with whomever else the producer deems worthy of joining them.  Over the years, I’ve featured a few of the most important record producers of the post-World War Two era.  Thus far, I’ve written about the opera record producer John Royds Culshaw (1924-1980; Dr. Bob Prescribes, March 24, 2020); the Beatles’ record producer and so-called “Fifth Beatle” George Martin (1926-2016; Music History Monday January 3, 2022, and Dr. Bob Prescribes January 4, 2022); and the jazz record producer Orrin Keepnews (1923-2015; Music History Monday, March 21, 2021).Today we add John McClure to this august list.  The Job of a Record ProducerHere’s how The Recording Academy (formally the National Academy of Recording Arts and Sciences, or NARAS) defines a record producer:“The person who has overall creative and technical control of the entire recording project, and the individual recording sessions that are part of that project. He or she is present in the recording studio or at the location recording and works directly with the artist and engineer. The producer makes creative and aesthetic decisions that realize both the artist’s and label’s goals in the creation of musical content. Other duties include but are not limited to keeping budgets and schedules, adhering to deadlines, hiring musicians, singers, studios and engineers, overseeing other staffing needs and editing.”(And editing.  I trust we all realize that expert editing will make [and bad editing break] almost every musical and literary enterprise.  From book editors and newspaper editors; to television and film editors; to radio producers and record producers, it is the editors/producers that are, in the end, responsible for shaping and delivering the final product that goes out to the public.)When it comes to making a recording, then, the producer is the chief, the chef, the Jefe, the top dog, the Geeter-with-the-Heater, the Big-Boss-with-the-Hot-Sauce: that single person responsible for every aspect of a recording, from hiring the players to running the recording sessions to supervising the editing to choosing the cover art!Having said all that, we should also be aware that the exact job of a record producer will vary depending upon the genre of music involved (meaning operas, concert music, rock/pop/country/hip-hop, or jazz) and whether the recording is made in a studio or live, in front of an audience.John McClure (right) and Georg Solti (1912-1997)A concert music record producer (like today’s featured producer, John McClure) is working from a script: a composer’s score.  Whether a producer is partnered up with a conductor and an orchestra, or a string quartet, or a solo pianist, or whatever, said producer’s job is to present that conductor’s,
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1 year ago

Music History Monday
Music History Monday: Let Us Quaff from the Cup: Wagner’s Tristan und Isolde
The real-life married couple Ludwig and Malvina Schnorr von Carolsfeld as Tristan and Isolde at the first performance of Tristan und Isolde on June 10, 1865On June 10, 1865 – 159 years ago today – Richard Wagner’s magnificent and groundbreaking music drama Tristan und Isolde received its premiere in Munich under the baton of Hans von Bülow (whose wife, Cosima Liszt von Bülow, Wagner was enthusiastically shtupping at the same time). Oh Goodness; Did I Just Write That?I did. I know, right?  Here I am, introducing Tristan und Isolde – one of the most awesome, incredible works of art ever created – and I still couldn’t resist a cheap dig at Wagner the person.  As we have discussed in the past and will do so again, the same personality flaws that made Richard Wagner an often despicable narcissist allowed him the conceit to reject the operatic clichés and conventions of his time and to create a body of dramatic musical art unfathomable in its originality, beauty, dramatic power, and imagination. Of course, had he not been the towering genius he was, and had he not risked everything – including his sanity, over and over again – to create his unparalleled body of work, well, he would just have been another loathsome crank, writing nasty letters to newspaper editors and shouting at people in the street.  But he was a towering genius, and he did create a singularly stunning body of work, a body of work we all deserve to revel in.  So revel we shall, with the satisfying understanding that our pleasure in Wagner’s music affords him no monetary profit or emotional gratification at all, given that he’s been dead since February 13, 1883.Richard Wagner (1813-1883) in 1860Our gameplan.  This post will indeed discuss Tristan und Isolde; it’s basic story line and its origins. But this post will deal primarily with the cliché but inescapable “Wagner Problem”: how to reconcile Wagner the “man” with Wagner the “artist,” and how to allow ourselves to accept the man while reveling in the artist!Meanwhile, my Dr. Bob Prescribes posts for June 11 and 18 will feature my favorite DVD recording of Tristan und Isolde and, as such, will be all about Tristan und Isolde, all the time!Don’t Call it an Opera!!!Tristan und Isolde is a three-act music drama, or what Wagner himself called “eine Handlung” (which means “a drama” or“an action”). By his mid-career, Wagner outright refused to use the word “opera” except as a pejorative, claiming that the word represented the debased musical stage works of everyone not named “Richard Wagner.” Tristan und Isolde’s libretto (or “poem,” as Wagner would have us call it) was written and its music composed by Wagner between 1855 and 1859.Wagner based his “poem” on a twelfth-century romance entitled Tristan by Gottfried von Strassburg, who died circa 1210.  Wagner’s poem tells the story of two presumed “enemies” – the Irish princess Isolde and the Cornish (southern English) knight Tristan – who presumably fall madly in love only when they are duped into drinking a love potion.  (Many modern observers – yours truly included – believe that this “love potion” is in fact a placebo, likely of high alcohol content – Bacardi 151, for example – a drink that allows Tristan and Isolde to, like, finally get in touch with their feelings and admit that they’ve actually loved each other for years.)  Unfortunately, their love for each other is illicit (Isolde is due to marry the King of Cornwall, an old dude named “Marke”) and “unconsummated” (despite their very best efforts, T and I never manage to “do the dirty,” perhaps because they just can’t stop singing about how much they love each other).  In the end, Tristan is cut down by a fellow knight of Cornwall and Isolde, on watching Tristan die, expires over his now dead body in an orgasmic haze.Critics of Tristan und Isolde have referred to Wagner’s linked infatuation with sex and death as “perfumed obscenity” and its or...
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1 year ago

Music History Monday
Music History Monday: Ludwig von Köchel and the Seemingly Impossible Task
Ludwig Alois Friedrich Ritter (“Ritter” meaning “Knight”) von Köchel” (18900-1877)We mark the death on June 3, 1877 – 147 years ago today – of the Austrian lawyer, botanist, geologist, teacher, writer, publisher, composer, and “musicologist” Ludwig Alois Friedrich Ritter (“Ritter” meaning “Knight”) von Köchel, of cancer, in Vienna.  Born on January 14, 1800, he was 77 years old at the time of his death.Ludwig Köchel and the ArchdukeHerr Köchel wasn’t born a “Ritter” – a “knight” – a “von” – with all the privileges and perks that such a title brought.  Rather, he was born to the middle class in the Lower Austrian town of Krems an der Donau (meaning “At the junction of the Kremas and Danube Rivers”) some 43 miles west of Vienna. Smart and ambitious, he studied law in Vienna and went on to earn a Ph.D. in 1827, at the age of 27.Köchel was a polymath, someone who knew a lot about a lot of things.  As such, despite having a law degree, he chose a career as a teacher.  But he was not just any teacher, and he didn’t teach just any students.  For 15 years, Köchel was the tutor to the four sons of Archduke Charles of Austria.This requires a wee bit of discussion/explanation.Archduke Charles of Austria (1771-1847) in 1819Archduke Charles Louis John Joseph Laurentius of Austria, Duke of Teschen (1771-1847) was an Austrian field-marshal, the third son of the Holy Roman Emperor Leopold II and the grandson of the Empress Maria Theresa. He was the nephew of both Emperor Joseph II (of Amadeus fame) and Marie Antoinette (of “oops, has anyone seen my noggin?” fame). In a virtual sea of Austrian military incompetence against Napoleon, Archduke Charles stands out as the best Habsburg general officer of the Napoleonic era, and arguably the best commander ever produced by the House of Habsburg in its 636-year run (from 1282 until 1918). According to Arthur Wellesley, the first Duke of Wellington (1769-1852), Archduke Charles was:“the greatest general of his time.”This, then, is the man who chose Ludwig Köchel to educate his four sons. Köchel lived with and worked with the Archduke’s boys for 15 years, from 1827 to 1842 (from the time Köchel was 27 years of age to 42).  It would appear that everyone was satisfied with Köchel’s teaching, because upon his departure in 1842, he was rewarded by the archduke with a knighthood and life-time pension large enough to guarantee that he’d never have to “work” for a living again.…Continue Reading, only on Patreon!Read on PatreonBecome a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago

Music History Monday
Music History Monday: “Inappropriate”
There Must Be Something in the AirHave any of you done – or anticipate doing – anything particularly foolish today, anything particularly inappropriate?If you do, know that you will be in good company.  Perhaps it’s the angle of the sun; perhaps it’s something in the air or water, because as dates go, May 27 is ripe with musical stories and actions that we shall deem as being “inappropriate.”For example.Coventry Evening Telegraph May 26, 1964: “In May of 1964, eleven 16-year-old boys were suspended from Woodlands Comprehensive School, Coventry, for having Mick Jagger haircuts. They were told by the Head of School, Donald Thompson, that they could return once they’d cut their hair.”On May 27, 1964 – 60 years ago today – four of the eleven 16-year-old boys suspended from Woodlands Comprehensive School in Coventry, UK, for having Mick Jagger haircuts complied with their headmaster’s demand that they cut their hair, and returned to school.  The other seven lads put their hair (or at least the allegiance to Mick Jagger!) before their schooling and remained suspended.  According to an article in the Coventry Evening Telegraph:“their headmaster Mr. Donald Thompson has said that he would not object if they returned to school with a ‘neat Beatle cut.’

           Mr. Thompson told the Coventry Evening Telegraph today that he was not against boys having modern hair styles, but he did object to the ‘scruffy, long hair style of the Rolling Stones with hair curling into the nape of the neck and over their ears.’”Thompson’s anti-Jagger, anti-Stones, pro-neatly-shorn hairdecree was handed down about a month after the President of the UK’s National Federation of Hairdressers declared that the Rolling Stones’ haircuts were “the worst” of all their rock ‘n’ roll colleagues.  He then added:“One of them [no doubt referring to Keith Richards] looks as if he has a feather duster on his head.”Oh my goodness, how worried everyone was about hair in the 1960s!  Was it inappropriate for the parents of those eleven suspended boys to send their kids to school in violation of what was a stated “hair code policy?”  Yes, it was inappropriate of them.  Was it inappropriate for the headmaster to indefinitely suspend those children at the end of the school year?  Yes, doubly inappropriate.At least those boys weren’t yet wearing their pants down around their knees, as they might do so today.  Triply inappropriate.Speaking of INAPPROPRIATEThe Sex Pistols in 1977: every parent’s worst nightmareOn May 27, 1977 – 47 years ago today – the Sex Pistols released their single, God Save the Queen,in the UK.Now, if you thought I was going to label the Sex Pistols’ “song” God Save the Queen as being “inappropriate,” you are incorrect.  Insipid?  Yes.  Artless?  Surely.  Ridiculous?  Of course: it’s the freaking Sex Pistols, for heaven’s sake, the lowest, bottom-feeding punkers of the punks.What was inappropriate was the reaction of the “establishment” to the Sex Pistols’ God Save the Queen and the degree to which that reaction made the song a cause célèbres.  You see, after its release, the Sex Pistols’ God Save the Queen was instantly banned from British TV and radio stations.  Many of the workers in UK record pressing plants refused to even manufacture the record, and many UK record shops simply refused to stock and sell it.We should all know what happens when this sort of spontaneous censorship occurs, and that’s exactly what did happen.  The single sold 200,000 copies in one week, making it the No. 2 hit on the UK charts, just behind Rod Stewart’s I Don’t Want to Talk About It.No. 2 on the charts, for what amounts to a total piece of musical merde. But certain rumors continue to circulate, rumors that have never been confirmed nor denied: that the Sex Pistols’ God Save the Queen was actually No.
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1 year ago

Music History Monday
Music History Monday: A Difficult Life
Gaston Leroux’s Paris Opera House (today the Palais Leroux) in 1875, the year of its inaugurationBefore we get to the principal topic of today’s post, we must note an operatic disaster that had nothing to do with singers or the opera being performed on stage.  Rather, it was a disaster that inspired Gaston Leroux to write the novel The Phantom of the Opera, which was published in 1909.On May 20, 1896 – 128 years ago today – a counterweight helping to hold up the six-ton chandelier at Charles Garnier’s Paris Opera House fell into the audience during a performance of Étienne-Joseph Floquet’s opera Hellé (composed in 1779).  We don’t know how the opera performance was going, but the counterweight was a big hit: one woman in the audience was killed and a number of other audience members were badly injured.Installing the six-ton chandelierThe disaster was covered by a reporter for the Parisian daily Le Matin named Gaston Leroux (1868-1927).  The accident – to say nothing for the Paris Opera House itself and the lake beneath it – made quite an impression on Monsieur Leroux.About that underground “lake.” Writing in The New York Times on January 24, 2023, Sam Lubell tells us that:“When digging the foundations [for the Paris Opera House], workers hit a hidden arm of the Seine, causing water to flood the site. It was impossible to remove all the water, so crews had to contain it with a massive concrete reservoir with a vaulted ceiling from which water is still pumped today. The so-called lake was dramatized by Gaston Leroux, author of The Phantom of the Opera, who made it the stomping grounds of the Phantom. [Christopher Mead, author of Charles Garnier’s Paris Opera: Architectural Empathy and the Renaissance of French Classicism] was mesmerized by [the opera house house]. ‘You can see why it inspired Leroux,’ he said. ‘You could invent a whole world there.’”Which, of course, is precisely what Gaston Leroux did.Onwards to the star attraction of today’s post!Clara Schumann in 1857, age 38With our heads bowed, we mark the death – 128 years ago today – of the pianist and composer Clara Wieck Schumann, who died of a stroke at the age of 76 on May 20, 1896.She was among the great pianists of her time, a child prodigy whose performances were described with awe by her adult contemporaries.  She was a composer of outstanding promise, who – for reasons we will discuss in tomorrow’s Dr. Bob Prescribes post – never had the opportunity to fulfill that promise.  She was the compositional muse for her fiancé and husband, Robert Schumann (1810-1856), and the spiritual muse of her best friend, Johannes Brahms (1833-1897).  Most of all she was a survivor: someone whose life reads like some endlessly tragic Victorian novel, only without the “happy ending” tacked on at the end.No One Escapes This Life Unscathed, But When it Came to Clara . . .Next time one of us gets into a self-pitying funk (at which I am a particular virtuoso), during which we stand convinced that our personal lives represent the very nadir of human existence, I would recommend that we think of Clara Schumann and her life as a cautionary tale, as an example of how very badly things can go if fate is not on one’s side.  If such reflection doesn’t temper our own self-absorbed misery, frankly nothing will.…Continue reading on PatreonBecome a Patron! Listen and Subscribe to the Music History Monday PodcastRelated Great Courses
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1 year ago
20 minutes 22 seconds

Music History Monday
Music History Monday: What Day is Today?
World Cocktail Day! Whoever wrote the copy for this notice was clearly well into their third, perhaps fourth cocktailWe recognize May 13th as being, among other “days” here in the United States, National Frog Jumping Day, Leprechaun Day, International Hummus Day, National Crouton Day, and – wait for it – World Cocktail Day!National Days, Weeks, and Months!Who creates these damned things?We’ll get to that in a moment.  But first, let’s distinguish between a national holiday and a national day (or week or month).In the United States, national (or “federal”) holidays are designated by Congress and/or the President.  There are presently a total of ten national/federal holidays, meaning that federal employees get to take the day off.  However, anyone can declare a national day (or week or month).  The trick is getting enough people to buy into the “day” that it actually gains some traction and has some meaning.  Such national days are created by advocacy groups; lobbying groups; industry groups; government bodies; even individuals.A different sort of “cocktail” day, May 13 is also National Fruit Cocktail Day!According to the “National Day Calendar,” today, May 13, 2024, is – along with those “days” listed at the top of this post – National Women’s Checkup Day; National Fruit Cocktail Day; and National Apple Pie Day.  May 13 of this year is also the first day of Bike to Work Week; of Dementia Awareness Week; Water Savings Week; American Craft Beer Week; National Salvation Army Week; National Stationary Week; and National Smile Month.I am oh-so-tempted to call this list of promotional idiocy, well, idiocy.  But that today is both World Cocktail Day and the first day of American Craft Beer Week has gratefully given us the hook for both today’s Music History Monday post and tomorrow’s Dr. Bob Prescribes post: the drinking habits of some of our favorite composers, and drinking songs we should all know (and love).A Disclaimer and a Necessary, Pre-emptive PointFirst the disclaimer.  While I like my dry, gin martinis as much as the next guy – hell, probably a lot more than the next guy – I am in no way promoting the consumption of alcohol in this post, especially in excess.  Rather, as is my usual m.o., my goal is to render as human as I can composers who are otherwise pedestalized and, as such, de-humanized.And now the necessary point. Today, some of us tend to be very judgmental about the regular consumption of alcohol.  And no wonder: given its potentially addictive nature and sometimes adverse effects on our bodies, moods, and minds, it is – for many people – nothing less than poison.  But for most of us it is a great pleasure in a life otherwise in short supply of such.Now please: in the centuries prior to the twentieth, alcoholic beverages were more than merely recreation fluids but lifesavers as well, as the dearth of clean drinking water necessitated the consumption of far more alcohol than many of us, today, would consider healthy.  But given the choice, say, between a mug of ale or a pilsner glass of cholera-infected water, I do believe every one of us would choose the ale every time.There’s a tendency, then – today – to call all sort of historical figures “alcoholics,” despite the fact that the word and the concept behind it only came in to being in 1852.  Today, we can read that Mozart was an alcoholic, Beethoven was an alcoholic, Schubert was an alcoholic; Liszt, Schumann, Brahms, Tchaikovsky, etc.: all alcoholics.Please.Drinkers? Yes.  But we must (and will) be careful about who we call an “alcoholic,” especially if they lived at a time when alcoholic beverages were among the only safe ways to consume fluid.…Continue Reading on PatreonShow more...
1 year ago
20 minutes 39 seconds

Music History Monday
Music History Monday: The Evolution of Western Pop Music: USA (1960-2010)
We mark the public release, on May 6, 2015 – nine years ago today – of a scientific/statistical study published by The Royal Society Open Science Journal, a study entitled “The Evolution of Western Pop Music: USA (1960-2010).”Royal Society Open ScienceScoff not, my friends: this was, in fact, a high-end study conducted (and written up) by four high-end scientists: Dr. Matthias Mauch, of the School of Electronic Engineering and Computer Science at Queen Mary University of London, whose current professional title is “Research Manager for Recommender Systems and Music Intelligence at Apple Music”; Dr. Robert M. MacCallum, who teaches in the Division of Life Sciences at Imperial College, London; Dr. Mark Levy, a former research assistant at the Centre for Digital Music at the University of London and for the last three years a principal research scientist at Apple, where he researches potential future applications of machine learning to music creation and listening; and finally, Armand M. Leroi, a professor of evolutionary developmental biology at Imperial College in London.Scary fine creds on display here: up, down, and sideways.The study’s abstract is as follows.  I figure it’s better to get it directly from the quartet of Mauch, MacCallum, Levy, and Leroi than to offer up a watered down and abbreviated version of the abstract by yours truly.“In modern societies, cultural change seems ceaseless. The flux of fashion is especially obvious for popular music. While much has been written about the origin and evolution of pop, most claims about its history are anecdotal rather than scientific in nature. To rectify this, we investigate the US Billboard Hot 100 between 1960 and 2010. Using music information retrieval and text-mining tools, we analyze the musical properties of approximately 17,000 recordings that appeared in the charts and demonstrate quantitative trends in their harmonic and timbral properties. We then use these properties to produce an audio-based classification of musical styles and study the evolution of musical diversity and disparity, testing, and rejecting, several classical theories of cultural change. Finally, we investigate whether pop musical evolution has been gradual or punctuated. We show that, although pop music has evolved continuously, it did so with particular rapidity during three stylistic ‘revolutions’ around 1964, 1983 and 1991. We conclude by discussing how our study points the way to a quantitative science of cultural change.”Fascinating, yes?MethodologyThe actual paper – “The Evolution of Western Pop Music: USA (1960-2010)” – is rather lengthy; 4614 words (FYI: I let my computer do the word count).  Overall, the paper is characterized by the sort of technical jargon we would expect to find in a scientific journal.  For example: in the course of their introduction, the authors lay out their methodology as follows. “We adopted an approach inspired by recent advances in text-mining. We began by measuring our songs for a series of quantitative audio features, 12 descriptors of tonal content and 14 of timbre. These were then discretized into ‘words’ resulting in a harmonic lexicon (H-lexicon) of chord changes, and a timbral lexicon (T-lexicon) of timbre clusters. To relate the T-lexicon to semantic labels in plain English [“plain English”; if only!], we carried out expert annotations. The musical words from both lexica were then combined into 8+8=16 ‘topics’ using latent Dirichlet allocation (LDA). LDA is a hierarchical generative model of a text-like corpus, in which every document (here: song) is represented as a distribution over a number of topics, and every topic is represented as a distribution over all possible words (here: chord changes from the H-lexicon, and timbre clusters from the T-lexicon). We obtain the most likely model by means of probabilistic inference. Each song, then, is represented as a distribution over eight harmonic topics (H-topics) that...
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1 year ago
16 minutes 4 seconds

Music History Monday
Music History Monday: The Duke
John Wayne as Genghis Kahn (1956); not one of his finest cinematic momentsWe mark the birth of The Duke on April 29, 1899 – 125 years ago today – in Washington D.C. By “The Duke,” we are not here referring to the actor John Wayne (who was born on May 26, 1907, in Winterset, Iowa), but rather, Edward Kennedy “Duke” Ellington, one of the greatest songwriters and composers ever to be born in the United States.  Aside from their shared nickname, it would appear that the only thing Duke Ellington had in common with John Wayne was that they both suffered from lung cancer.  In Ellington’s case, cancer killed him at the age of 75 on May 24, 1974, at the Columbia Presbyterian Medical Center in New York City (and not at the UCLA Medical Center in Los Angeles, as is inexplicably claimed on certain web sites!).Born in Washington D.C., he grew up at 2129 Ida Place (now Ward Place) NW, in the district’s West End neighborhood. His father, James Edward Ellington, worked as a blueprint maker for the Navy Department and on occasion as a butler, sometimes at the White House.  His mother, Daisy (born Kennedy) was the daughter of formerly enslaved people.  Theirs was a musical household; both of Ellington’s parents played piano. (We are told that James Edward Ellington preferred to play arrangements of operatic arias, while Daisy preferred the semi-classical parlor songs that were popular with the middle and upper middle classes at the time.)Ellington as a childAnd let us make no mistake; the Ellingtons were indeed of the upper middle class: sophisticated, educated, upwardly mobile, proud of their racial heritage and unwilling to allow their children to be limited by the Jim Crow laws of the time.  According to Studs Terkel, writing in his book Giants of Jazz (The New Press, 2nd edition, 2002):“Daisy [Ellington] surrounded her son with dignified women to reinforce his manners and teach him elegance. His childhood friends noticed that his casual, offhand manner and dapper dress gave him the bearing of a young nobleman.”It was that noble bearing that prompted Ellington’s high school friend Edgar McEntee to come up with the nickname that Ellington wore so very well for so very long.  According to Ellington himself: “I think he [Edgar McEntee] felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke.”)For the young Ellington, piano lessons were a must; it was, for children of his generation (and mine as well!) an inevitable childhood rite-of-passage.  Having said that, like so many red-blooded American kids, Ellington preferred baseball, at which he excelled.  In his autobiography he recalled that:“President [Theodore] Roosevelt would come on his horse sometimes, and stop and watch us play.”(For our information: Ellington’s love of the game ran deep, and his first paying job was selling peanuts at Washington Senators games.)(Because we all should know: the Senators, also-known-as the “Nationals,” played in D.C. from 1901 to 1960.  It was in 1960 that the team broke the collective hearts of its District fans and moved to Minnesota, there to become the “Minnesota Twins”: “twins” as in the twin cities of Minneapolis and St. Paul.)Ellington’s first piano teacher was the spectacularly named Marietta Clinkscales (OMG; who could make such a name up?). As a teenager, he took up ragtime piano and studied harmony, though as a teen his growing love of music shared equal time with a real talent for painting and design. …Continue ReadingBecome a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
15 minutes 45 seconds

Music History Monday
Music History Monday Replay: “The Empress” – Bessie Smith
I am writing this post from my hotel room in what is presently (but sadly, not for long) warm and sunny Vienna.  As I mentioned last week, I will be here for eight days acting as “color commentator” for a musical tour of the city sponsored by Wondrium (a.k.a. The Teaching Company/The Great Courses).  I also indicated, one, that I would keep you up-to-date on the trip with near-daily posts, and two, that Music History Monday and Dr. Bob Prescribes will be rather truncated while I am here.We mark the birth on April 15, 1894 – 130 years ago today – of the American contralto and blues singers Bessie Smith.  Appropriately nicknamed “The Empress,” Bessie Smith remains one of the most significant and influential musicians ever born in the United States.  Well, it just so happens that we celebrated Maestra Smith birthday in my Music History Monday post of April 15, 2019, and I will thus be excused for directing your attention to that post through the button below:Read on PatreonBecome a Patron! Listen and Subscribe to the Music History Monday PodcastThe Robert Greenberg Best Sellers
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1 year ago
20 minutes 34 seconds

Music History Monday
Music History Monday: The Guy Who Wrote the “Waltz”
Anton Diabelli (1781-1858)We mark the death on April 8, 1858 – 166 years ago today – of the Austrian composer, editor, and music publisher Anton Diabelli in Vienna, at the age of 76.  Born on September 5, 1781, his enduring fame is based on a waltz of his composition that became the basis for Beethoven’s epic Diabelli Variations for piano.Quick WorkWe are, fairly or unfairly, going to make rather quick work of Herr Diabelli.  That’s because, with all due respect, what I really want to write about is Beethoven’s Diabelli Variations.  There’s a powerful ulterior motive at work here as well.  In a field of great recordings, my numero uno favorite Diabelli Variations is the recording made by the Milan-born Italian pianist Maurizio Pollini in 1998 and released by Deutsche Grammophon in 2000.  Pollini passed away at the age of 82, on March 23, 2024: 16 days ago.  As such, we will honor Maestro Pollini in tomorrow’s Dr. Bob Prescribes even as we celebrate his unequaled performance of Beethoven’s variations.Anton Diabelli (1781-1858)Despite his Italian surname, Anton Diabelli was Austrian born-and-bred.  He was born in Mattsee, a market town just outside of Salzburg.  He was a musical child, and typical of almost every musically talented boy of his time and place (and by “place” we’re referring to Catholic Europe), he was musically schooled as a chorister in a boys’ choir, in Diabelli’s case at the Salzburg Cathedral (where he almost certainly studied composition with Joseph Haydn’s younger brother, Michael Haydn [1737-1806]).  By the time he was 19 years old – in 1800 – Diabelli had composed a number of large-scale works, including six masses.  It was in that year that Diabelli, who had been trained for the priesthood, was packed off to the monastery at Raitenhaslach, in the southeastern German state of Bavaria. …Important Programming NoteA scheduling note before I leave you.  I will be in Vienna leading a tour starting on April 13, which – sadly – will preclude me from posting Music History Monday Podcasts on April 15 and 22.  I will, however, be posting daily reports from Vienna on my Patreon site.  I would be remiss, then, if I didn’t invite everyone who is not already a subscribing member to join me at Patreon and partake in the fun. Continue reading, and listen, on Patreon!Become a Patron! Listen to the Music History Monday PodcastRelated Robert Greenberg Courses
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1 year ago
19 minutes 47 seconds

Music History Monday
Exploring Music History with Professor Robert Greenberg one Monday at a time. Every Monday Robert Greenberg explores some timely, perhaps intriguing and even, if we are lucky, salacious chunk of musical information relevant to that date, or to … whatever. If on (rare) occasion these features appear a tad irreverent, well, that’s okay: we would do well to remember that cultural icons do not create and make music but rather, people do, and people can do and say the darndest things.